PlayBoy girls 1956-1957

In turn Lynn Turner ( January 1956 ), it suggests that we forget about this silly game of backgammon and get down to business.

Lynn was the last Playmate to appear without a name. Thus, it is a gap between the stock calendar shots and playmates. the kind of girl you might see in the phone book. I was not the only one concerned when it changed a bit with some recent Playmates.

Clarity of this turn places it in the fifties, but his appeal, and the appeal Lynn timeless. This is partly production values ​​are top-notch. There is very good, but far from obvious Color progression through pillows, before our eyes its way from Lynn face down to the floor. Just as a thin diagonal line passes through a red pillow and backgammon boards.

Most of the timelessness of this reversal has to do with a wonderful view invitation to face Lynn. This is a sweet, humble and kind you may return to time and again. Pair of legs, as she does not hurt is also relevant.

Legendary Russ Meyer, a man not known for his subtlety, photographed Second spread Marguerite Empey in (February 1956). He grabbed her in the midst of breakfast in bed.

It would be wise to imagine that we brought this breakfast Margarita on Mother's Day, as it is obviously pregnant. There definite curve to the stomach and darkened nipples. but the focus her pregnant state is to miss the point. You could not even say The word " pregnant" on TV at this time, so it is unlikely that this was conscious attention in turn.

Mies van der Rohe said, " Less is more." Russ Meyer ignored him. it probably one of the busiest in the history of Centerfolds Playboy. With Top: Margarita hair, jewelry, cosmetics, striped blouse, coffee On the one hand, toast in another overloaded dish and obvious Curves on the sheets. Each element is complex, rich and full. Just when You think nothing can be added, it is.

In this style of art called "baroque". That Russia and Mies have in common is the ability to work successfully in a style which is often done only as cheap copies

In turn Marian Stafford (March 1956) it gives us to understand in no no uncertain terms that we would not see the tube today.

Way sex can be talked about in polite society has changed over years. I'm sure there were women who were persistently in getting what they wanted sexually, but it was common sense that these women will not make good companions. They were the ones you kept in the apartment. Marian seems to be too domestic situation here to be Kept. I could not read too much into it, but it seems to me to be more home of a young couple than pied a terre in the city.

This is a good position for Marian. I think the best way to put it is that it are sexier than the parent. Possible allusion pubic adds to this.

The general mood of the film is happy - a good thing. And scan and copy my foldout show that white was perhaps not the best Colours. It was difficult to work with then and it shows today.

In Rusty Fisher's centerfold (April 1956) she's just moving into her apartment and is asking our opinion on her new print. The joke is that the modern print has so many weird angles that "no one" could tell if it were straight or not.

This centerfold owes a lot to erotica from the days preceding Our Favorite Magazine: the pose that is far more modest than erotic coupled with a knowing wink. We all know Rusty probably hangs pictures fully clothed, but this is how we see her in our dreams, not how she really is.

The use of color here is worth mentioning. The dark colors are all towards the bottom, but they're split up among several tones. This keeps them within the light and airy feel of the entire centerfold. Rusty's bent right knee gives her balance and draws our eyes to the right side of the frame where - lo and behold - we find Rusty's breasts. Rusty has a youthful figure worth spending time with. I'd say this even if the hammer in her pants didn't make her butt look big.

Here we're seeing the Playboy Style. Today we see more skin, but not more class.

In Marion Scott's centerfold (May 1956) she's stolen our hat, and is now waiting for us to make something of it.

Once upon a time mechanical refrigeration was too expensive for home use. Just like Jonnie Nicely's milkman, the iceman would come into housewives' kitchens to deliver a load. Of ice. Marion's iceman has not only lost his hat but his tongs and ice as well. Might as well take a break.

I like the colors here, white and black with copper and tan accents. The ice on the cool black floor is a direct tie to Marion's black panties. It's a surprising theme for a fifties centerfold, predating the cool black of the eighties and nineties.

I love the expression on Marion's face. It's going to happen, but she's looking for a bit of the chase, maybe a game or two before we finally get down to business.

A major down point here is Marion's posture. It does give a sinuous and slightly mysterious look to the affair but that's more than outweighed by the way it confines Marion's arms and legs. She should be welcoming us with open arms. Etc. That probably had to wait a few years.